1985 Cud form around various art courses at Leeds Polytechnic1990 Cud’s second proper album Leggy Mambo, on Imaginary, reaches me at the NME. I love it16 October 1991 I see Cud live for the first time and meet them afterwards at Manchester International II27 May 1992 I see Cud for the second time live at Wakefield Rooftop Gardens and sit in for AWOL drummer Steve Godwin for Rich And Strange at the soundcheck (photographic evidence is taken of this momentous occasion)June 1992 I see Cud live at GlastonburyJuly 1992 As features editor of NME, I commission Cud’s first and only NME cover story (but do not write it)1995 Cud split2006 Cud re-form2003-2011 I develop a happy if inaccurate reputation for being the only DJ on 6 Music who plays Cud (although I do play them a lot)11 November 2012 Cud invite me to sit it on the drums again at Brixton Academy to play Rich And Strange when they support Carter USM and the Neds, this time to an actual audience of fans. It is one of the greatest moments of my life

Now, can I separate my love of this song and this band from my own personal history with both? Yes, is the resounding answer. (And in any case, when was The 143 not personal?) I will state for the record that, as the timeline indicates, I fell for Cud’s crazy, toe-tapping pop-rock music before meeting them as tremendous people. And I’d already identified Rich And Strange as a high watermark of their already prolific canon based on a promo cassette of it, which will have arrived from A&M Records in the NME mailbag in early 1992. They hooked me in with their music, these voluble art-rockers, and then landed me with their personalities. But what is a great band if not the sum of its own members’ personalities? Cud stood out then, and stand out now, because they created their own cool, rather than follow a signposted footpath. In Carl Puttnam, they had a singer who could sing and a frontman who could front, but did neither job as per the standardised job description.

In the more finely-tuned and less accidental third LP Asquarius, with a major label behind them and the marketing and formatting that once came with that pre-digital patronage, Cud skirted briefly with the mainstream, and they had the hooks and the ideas to live there, but they were, and are, a fringe proposition with their comic timing and their awful shirts, and it suits them, as much as the shirts did, or do. That bassist William Potter, the band’s own Boswell and apparent treasurer, is a comic artist, and Puttnam a painter (his daubing forms the sleeve of Rich And Strange), feeds into not just their sleeves but their attitude: pop as art.

Rich And Strange, whose intricately syncopated drum signatures I will now take to my grave, is a tight, bright, almost claustrophobically self-contained glam racket. It creates a kitchen-sink drama in which Puttnam bellows of lonely tigers in a basement and hurtling “flushed and brash” into “some crazy scheme”. In the words of Tom Waits, what’s he building in there? Our protagonist seems to be looking for love (“a kiss is too much”) and wounded by loss (“you must remember when you loved me like a friend”), but remains upbeat (“I’m never fed up”), wearing his self-awareness like a belt buckle: “I’m fat but I know where it’s at.” (If crueler observers ever thought of Carl as “fat” in the early 90s, it just goes to show how goalposts move.) Mike Dunphy’s guitar comes in starbursts during the verse then scales the heights of melodrama come the chorus, while Godwin’s line of duty never falters and Potter’s bass throbs away.

Having learned and played the drums to this song (don’t know if I mentioned it), I can report that it’s never off the splash cymbals, and that may explain the sheer, crashing, underlined joy it exudes. It is deceptively rich, albeit explicitly strange. A rare Top 30 hit during Cud’s commercial purple patch, the charts were a more interesting place with them in them.

Because Cud don’t fit into any movement (at Select, we gamely shoehorned them into what wasn’t called our 1993 Britpop issue, and I rated Puttnam four out of five in a concurrent sidebar rating indie’s frontfolk for “star quality”, stating, “Cud’s affable, frizzy-haired, chest-beating vocal acrobat minted ’70s retro chic and now carries Crimplenist mantle with much elan”), they are oft forgotten when matters epochal are discussed. But these four men lured to Leeds from Essex, Northumberland, Derbyshire and Surrey (all but one still trading as the Cud Band) boot-stomped a significant footnote into history. They’re one of my favourites, hope they’re one of yours.

I came at the Velvet Underground from the wrong direction. Which was, for me, the right direction. Alerted to their significance by all those bands who formed because of them, I identified many of their key songs via covers in the early 80s – Sunday Morning by Strawberry Switchblade, All Tomorrow’s Parties by Japan, Femme Fatale by Propaganda, Sister Ray by Joy Division, Bauhaus’s live version of I’m Waiting For The Man – and came to fully understand their disproportionate influence when Bobby Gillespie stood up and drummed a few years later. I can say with confidence that I didn’t intimately acquaint myself with a Velvets LP until the 90s, when my rock history radar wouldn’t stop twitching and I discovered the archeological beauty of HMV’s 3-for-2 warehouse-clearers.

Can coming at the Velvet Underground via Lou Reed be considered the wrong direction? In 1989, by then a cub reporter, I treated the brand new New York as a pivotal LP, and loved every pore of it. I went to see Lou live at the Hammersmith Odeon and found my heart in my mouth when he actually told someone in the circle off for talking while he was doing a link. War stories from fellow NME scribes who’d had an audience with the man (and had to wait for him) mounted up. I put on some wraparound shades, applied a wraparound tourniquet and waded in.

What I really liked about the Velvet Underground, aside from the self-evidently attractive art school context for their willful, Warholian wailings and the fact that they existed in black and white, was how slow they were. These unknowable people, one of them apparently Welsh, barely visible behind an imagined lava-lamp slide show, seemed in no hurry to change the course of narco-art-rock. Even the jittery Waiting For The Man seemed a prelude to subsequent slowdown. While I cherish Pale Blue Eyes and I’m Beginning To See The Light on the third, Cale-free album and bits of Loaded, there really is only one Velvet Underground LP, The Velvet Underground & Nico. And from it, Venus In Furs always rises to the top and blooms like an exploding plastic inevitable in a heroin muffin.

I realise now that it’s John Cale I miss on the subsequent albums, as it’s his shrieking, bird-like viola that gives Venus both its macabre momentum and its reason for being. (Perhaps it’s also Andy Warhol’s absence I lament as his curatorial influence also fades post-banana.) I know little of the source novel of the same name by Leopold Sacher-Masoch, who sounds like a rum sort, and have myself lived a stimulating enough life without recourse to sado-masochism, “shiny, shiny, shiny boots of leather” and “downy sins of streetlight fancies”, but isn’t that the point of the Velvet Underground? To sound like they’re having way more deviant and complicated sex than you are?

This song sounds like forbidden fruit, a sacrificial drone recorded in a secret place behind a secret door with a secret knock, in a thick fug of analgesic vapour among cross-dressing whiplash folk. It’s in the Library of Congress these days, of course, but even subversive art can be co-opted into a verified canon with the luxury of time passing. I am surely now too old and sensible to be fooled by the Velvet Underground (Venus was recorded not in Noo Yoik but in Hollywood, for God’s sake), and yet, if anything, their parallel recitation of the end of the 60s becomes more vivid and exotic. I guess part of it is academic – Venus Is Furs is important because of who made it, when they made it, where they made it, what books they were reading at the time, and for whom they played it; it’s also important because of the album from whence it was never ripp’d (one of those albums for which every track has its own Wikipedia entry) – but the bulk of its appeal remains visceral. It gets me right there.

When Lou calls out “Severin, Severin!” to the book’s submissive protagonist as he blurs the lines between master and servant, it would be rude not to get sucked into the costumes and the adornments and the bended knees of whatever wickedly unsubsidised kind of theatre this is. Cale’s caterwauling catgut, Tucker’s death-knell beat, Morrison’s almost inaudible bass, Reed’s intoxicating guitar with its strings tuned to the same note … on and on and on it marches. Who actually wants it to end after five minutes?

There’s simply no way this music was recorded ten years before punk. It’s obviously a Capricorn One-style conspiracy. There are bands making so-called rock music today that sounds like it is an early evolutionary step on the way to a generation of bands who might one day dream of sounding like the Velvet Underground, if only they could be arsed to read a book.

It was Stephen King who got me into Talking Heads. Well, my friend Paul Garner, who got me into Stephen King and Talking Heads at the same time. It was early 1984, the year I would complete my one-year Art Foundation course at Nene College, where Paul – a like-minded cinephiliac contemporary from school who’d left before sixth form – was well on the way to a Diploma at the same local seat of learning. Band and horror novelist, whose twisted Americana held like-minded allure to a provincial lad straining at the artistic leash and already besotted with Hollywood movies as disparate as On The Waterfront, Halloween and Apocalypse Now, came together as one.

Paul, one step ahead of me, lent me Remain In Light (their fourth album) and Carrie (King’s first) and Night Shift (his first collection) at around the same time. I devoured all three and went for the set in both cases. This was quite a slog with King, already up to his eighth or ninth under his own name, but with great enthusiasm comes fast reading. All three previous Heads LPs, and the next, went onto cassette and when Little Creatures was released a year later, it was my first contemporaneous purchase. Likewise, with King, in paperback, Christine. (It was only in later years, postgraduate and with disposable income, that Paul and I began to buy them in hardback.) If you’ve ever been a teenager, you’ll recall that heady thrill of discovery and how it tore through everything like a cyclone.

Imagery and story linked CBGBs band and horror author, although a cosmic alignment suggested itself when, during my reading of The Dead Zone (an early favourite for both of us), Psycho Killer from Talking Heads ’77 gave up the line, “Can’t sleep, my bed’s on fire.” In the story, extra-sensorily perceptive Johnny Smith has a vision of being in a burning child’s bedroom. (It’s in the Cronenberg film, which we saw on video that year.) This was all meant to be.

David Byrne’s lyrics snared me in. “Look over there, a dry ice factory, good place to get some thinking done,” he explained, seemingly in some kind of panic (“I’m a little freaked out”), on Cities, from Fear Of Music, a restless road movie waiting to be adapted by David Lynch (Memphis is the “home of Elvis and the Ancient Greeks”, and when he smells “home cooking” it turns out to be “only the river”). But I think what made Talking Heads unique to me in a way that only mining David Bowie’s back catalogue for C90s had ever done before is that every single track had something to recommend it. Even the more spidery early stuff. Not a single song went by without some twang, or chord-change, or vocal quirk that made it different to everything else.

With a percussive mistake, an explosion of cymbal and a whipcrack toe-stubbing exclamation from Byrne, Born Under Punches opens Remain In Light in fidgety, wired, ants-in-pants style, although you’ll have to forgive me, I played Side Two of my first ever Talking Heads LP before Side One because it had the single Once In A Lifetime on it, which, a surprise UK hit, was my passport over the border. (It wasn’t until C4’s proto-Adam Curtis, cut-up documentary Once In A Lifetime aired later that year – coloquially known as Talking Heads Vs. Television – that I truly appreciated the “world music” aspect of Byrne’s appetite, including the sign and body language behind the famous Once In A Lifetime video.) Remain In Light has not a weak link, from the jerky pop to the more morose meditations on Side Two, but Born Under Punches is the one that really throws its weight around for me. (Crosseyed And Painless really picks up the twitchy baton, and The Great Curve is no slouch, but both feel relatively controlled in comparison.)

A chattering, Brian Eno-doctored mutant of guitars, squeals and beats speaks in musical tongues, while Byrne, a perspiring Norman Bates-like figure, affects a near-parody of the possessed funk vocalist (“I’m a tumbler … I’m so thin … Take a look at these hands … Some of you people just about missed it … Thank you! Thank you!”) With repeated phrases and half-phrases, coming back on each other in the round, the lyric, such as it is, behaves more like beat poetry. As with the dancing, there’s so much going on behind it. Who is “the Government man”? Why are the hands “passing inbetween us”? In what way was the tumbler “born under punches”?

Talking Heads pose way more questions than they answer, and so be it. This is collegiate new wave taken to vertiginous heights of theoretical tease. When even the hand jive has subtext, it’s little wonder the words have you reaching for books. And so it was that Talking Heads burrowed into my consciousness at the same time as Stephen King’s vivid tales of domestic equilibrium shattered by supernatural events.

When I thought I had it in me to write a novel, the first title I came up with was Born Under Punches. It looked superb in capital letters. But I checked it on Amazon and unfortunately someone had already nabbed it. Not that you should ever start with a title if you’re writing a novel. I fully intended to have a Government man in it, and a backstory about domestic violence (born under punches) and a subplot about hand signals. It would have been amazing.

I stopped buying Stephen King’s books when they came out at the end of the 90s, but I did see him read from Bag Of Bones onstage at the South Bank in ’98 and it was pretty cool. Never did see Talking Heads, although I went to CBGBs and it was pretty horrible.